IGN: Right. Are there any specific projects you want to mention or can mention or you wanna just leave it like that?

SLUG: We're going to make another Felt record. We haven't figured it out yet. It's either going to be a tribute to Drew Barrymore or it's going to be a tribute to Meadow Soprano. The Drew Barrymore thing might actually be better because there's actually a chance that one of us could f#%k her.

IGN: Better than Meadow Soprano you think?

SLUG: Oh yeah. Meadow, nobody even knows where she lives. She's not in New York or some s#%t. Whereas in LA it's not that big of a deal to find Drew drunk.

IGN: Speaking of that, you ever had any contact with Christina Ricci?

SLUG: Noooo, but I know who her boyfriend is now. Six degrees of separation. Turns out I'm friends with someone he's friends with and hopefully he thought the record was funny - even though I did want to f#$k her. I'll be nice now; I don't want to f%#k her until he dumps her. I wouldn't be surprised if I caught a cease and desist letter from her lawyer.

IGN: I got a press copy of the record. I assume the real one's not censored or anything. Is "Always Coming Back Home to You" one big song?

SLUG: No. That last song on there is just a bonus song for people in Minneapolis. It starts off with the drums and ends with the sound of everyone taking off their seatbelts on the airplane. When the music comes back on after the space it's a second song called "Say Shhhh." It's just not titled. Since it's called "Say Shhhh" we thought it'd be cute not to be listed.

IGN: That is a tight track by the way.

SLUG: On the vinyl there's actually even a few more bonus songs.

IGN: Really?

SLUG: Yeah, just because with the vinyl you can fit a bit more s%$t on there. And like I said, I'm a dummy, dude. I introduce you to all my children. Everybody says don't make a record over 55 minutes. F%#k that s$@t. If I could make the record f#%king two days long, I would.

IGN: Ddo you end up having to scrap a lot of the material? Because it sounds like when you were talking about writing rhymes and stuff, you're pretty prolific and you write all the time.

SLUG: Yeah, there's tons of stuff that doesn't come out. But see, I make everything four-track first, so a lot of the stuff gets the four-track, but doesn't make the record. Then I make all these extra bonus four-track songs laying around I can use to put on sad clowns, bad doves, or whatever I want with.

IGN: Also, just because I couldn't understand it, what's the lyric after "God bless America" in "Trying to Find a Balance?"

SLUG: "But she stole the 'B' from bless and kept it."

IGN: Thank you. Is there anyone hip-hop, rock, whatever that you'd like to work with but haven't?

SLUG: Tom Waits.

IGN: What do you think about MP3 and copyright management?

SLUG: I'm all down for it. I think it's a good thing. I think the only person that gets screwed in that situation is the actual fan, or the listener, or the trader. Because it's like, me and you, we make mix CDs and mix tapes for our friends - you make one and you give it to a girl that you like. When you do that there's a communal thing going on that is you saying, "Hey, there is music that I like," or, "This is music that I think you would like," or, "This is me, reaching to you, saying I like you." And that is a big part of what music and art is all about. And when you can go online and get stuff from some random anonymous source you're not getting that part of the music. And it's cool that you find an artist and you listen to it and you like the artist and you go see the artist or the show and that's why that s#%t benefits me. I'm for it, not against it. It doesn't screw me. you know what I mean? If you like the s$#t you're going to come see me play and that's even better than you buying my record. I would rather look you in the eye and try and sell you my record in person, so I think the only people that get screwed are the people actually listening to the music because they are having to weave their way through a s#$tload of music just to find something they like, whereas people like me and you just hit off friends with music that gives the friends the thumbs-up that this stuff is okay to like.

IGN: So you think that the argument from labels that artists get screwed or the record companies get screwed

SLUG: Oh I think the record companies get screwed, but I don't care. I'm an indie label. Rhyme Sayers is an indie label; there's no way around it. Most of the kids that are f#$king downloading s%#t that comes out on Rhyme Sayers are going to buy it anyway because of the scene and the culture, because of the nature of this kind of scene and culture. So really you're just using that stuff to discover us. You're going to end up supporting us. So we don't even feel like as a label we get screwed. We're completely down for that s%#t because that's how you f#%king find out about people like us.

Now Metallica, f%$k them. You know what I'm saying? For them to f#$king cry when they're f%#king bringing in 80G a show is f@$king ridiculous. Like, how big is your mortgage payment, Lars? I mean, the labels get screwed because the labels are the ones who are walking away with eight bucks per sale and the artist is only losing a dollar on a download whereas the label is losing more like six to eight. So I can see why they're crying. But at the same time, come on, dude. Like you have a hard job. Like it's a hard job running a record label these days. It's f#%king easy as f$#k. When people get fired from their label, they don't cry, they don't commit suicide. They go on down the street and walk down Sunset to the next one and say, "Hey, you need an A&R guy?" I got no sympathy for them fools.